This book provides the first sustained critical exploration, and celebration, of the relationship between Geography and the contemporary Visual Arts. With the growth of research in the Geohumanities and the Spatial Humanities, there is an imperative to extend and deepen considerations of the form and import of geography-art relations. Such reflections are increasingly important as geography-art intersections come to encompass not only relationships built through interpretation, but also those built through shared practices, wherein geographers work as and with artists, curators and other creative practitioners.
For Creative Geographies features seven diverse case studies of artists’ works and exhibitions made towards the end of the twentieth and the beginning of the twentieth-first century. Organized into three analytic sections, the volume explores the role of art in the making of geographical knowledge; the growth of geographical perspectives as art world analytics; and shared explorations of the territory of the body, In doing so, Hawkins proposes an analytic framework for exploring questions of the geographical “work” art does, the value of geographical analytics in exploring the production and consumption of art, and the different forms of encounter that artworks develop, whether this be with their audiences, or their makers.

chapter |19 pages


For Creative Geographies

part Part I|66 pages

Art and the Making/Transforming of Geography

chapter 1|24 pages

Placing Art at the Royal Geographical Society

Creative Compass, Exhibition Imaginaries, and Cartographic Critiques

chapter 2|26 pages

Connecting with Gertrude

Woven Threads and Written Traces— Crafting Disciplinary Histories

part Part II|93 pages

A Geographical Turn?

chapter 3|26 pages

Producing Sites

Michael Landy's Break Down

chapter 4|20 pages

Framing the World

Portraits of Place, Richard Wentworth's Urban Imaginary

chapter 5|27 pages


On Residency and Collaboration

part Part III|56 pages

Remapping Bodies

chapter 6|24 pages

The Argument of the Eye

Installation Art and the “Experience of Experience”

chapter 7|20 pages

Points of Contact

The Geographies of Ana Mendieta's Earth-Body Works

chapter |10 pages

By Way of Conclusion

Towards an Analytic Framework